When John O’Leary was nine years old, he was almost killed in a devastating house fire. With burns on one hundred percent of his body, O’Leary mustered an almost unimaginable amount of inner strength just to survive the ordeal. The insights he gained through this experience and the heroes who stepped into his life to help him through the journey—his family, the medical staff, and total strangers—changed his life. Now he is committed to living life to the fullest and inspiring others to do the same.
An incredible and emotionally honest account of triumph over tragedy, On Fire contains O’Leary’s reflections on being that little boy, the life-giving choices made then, and the resulting lessons he learned. O’Leary very clearly shares that without the right people providing the right guidance, at the right time, he never would have made it through those five months in the hospital, let alone the years that followed as he struggled to regain mobility, embrace his story, and ignite clarity of his life’s purpose.
On Fire encourages us to seize the power to choose our path and transform our lives from mundane to extraordinary. Once we stop thinking solely on the big moments in our lives, we can begin to focus on those smaller opportunities that tend to pass us by. These are the events—the inflection points in our lives—that can determine how we feel about life now, where we are headed in the future, and how many lives we can impact along the way. We can’t always choose the path we walk, but we can choose how we walk it. Empowering, inspiring, remarkably honest, and heartfelt, O’Leary’s strength and incredible spirit shine through on every page.
In recent years, sports law has developed into one of the most exciting and challenging legal disciplines and the importance of the law in doping matters has been heightened by the influx of money into sport and the development of sport as a global economy.
Drugs and Doping in Sport brings together work from leading academics, practitioners and administrators, analyses contemporary socio-legal and political themes related to doping in sport. It provides a challenging and often controversial view of doping issues and confronts political and legal orthodoxy, supplying the reader with a unique insight into this fascinating area of academic study.
New Zealand writing today is engaging in an intent struggle to subvert multiple shapes into voices. These interviews, as a record of biographical orature, are shaped into presenting the figure of the storyteller through memory and language; explorations of how we imagine and create ourselves with and into words. Here we encounter the dichotomy of fiction and non-fiction, myth and consensual reality, imagination and truth: do we live within our own selected fictions? Identity is shaped by the authors' sense of displacement as well as of belonging - meeting otherness with dispossession, discovering connection through isolation.
Among the focal points of the interviews are the role of women's writing, Maori writing, interrelations among different cultures, and the influence of literary and oral tradition within New Zealand.
We need more successes like these to reclaim government's legacy of competence. In If We Can Put a Man on the Moon, William Eggers and John O'Leary explain how to do it. The key? Understand-and avoid-the common pitfalls that trip up public-sector leaders during the journey from idea to results.
The authors identify pitfalls including:
-The Partial Map Trap: Fumbling handoffs throughout project execution
-The Tolstoy Syndrome: Seeing only the possibilities you want to see
-Design-Free Design: Designing policies for passage through the legislature, not for implementation
-The Overconfidence Trap: Creating unrealistic budgets and timelines
-The Complacency Trap: Failing to recognize that a program needs change
At a time of unprecedented challenges, this book, with its abundant examples and hands-on advice, is the essential guide to making our government work better. A must-read for every public official, this book will be of interest to anyone who cares about the future of democracy.
A.W. Drayson's Tales at the Outspan (1862) provides a point of departure, and is followed by discussions of works by William Charles Scully, Percy FitzPatrick, Ernest Glanville, Perceval Gibbon, Francis Carey Slater, Pauline Smith, and Aegidius Jean Blignaut, all of whom used the oral-style story genre.
In the work of Herman Charles Bosman, however, the South African oral-style story comes into its own. In his Oom Schalk Lourens figure is invested all of the complexity and 'double-voicedness' that was latent - and largely dormant - in the earlier works. Bosman demonstrates his sophistication particularly in his metafictional use of the oral-style story.
The study concludes with a discussion of the use of oral forms in the work of more recent black writers - among them Bessie Head, Mtutuzeli Matshoba, and Njabulo Ndebele.
■ Discussion on the impact of sustainability on valuation.
■ Photographs to illustrate different property characteristics and settings.
■ Even more worked examples, including buy-to-let residential properties and affordable housing.
In the immediate post-election moment, theatre seemed to be pursuing an escapist, nostalgic route, relieved of its historical burden of protest and opposition. But, as the contributors to this volume show, new voices have been emerging, and a more complex politics of the theatre, involving feminist and gay initiatives, physical theatre, festival theatre and theatre-for-education, has become apparent.
Both new and familiar players in South African theatre studies from around the world here respond to or anticipate the altered conditions of the country, while exploring the notion that theatre continues to 'intervene.' This broad focus enables a wide and stimulating range of approaches: contributors examine strategies of intervention among audiences, theatres, established and fledgling writers, canonical and new texts, traditional and innovative critical perspectives. The book concludes with four recent interviews with influential practitioners about the meaning and future of theatre in South Africa: Athol Fugard, Fatima Dike, Reza de Wet, and Janet Suzman.
• the impact of the credit crunch
• the growing importance of sustainability
• the growth of buy-to-let investment
• the introduction of Real Estate Investment Trusts (REITs).
This trusted book provides an essential overview of strategies for investment, markets and appraisal, making it an ideal read for any student or professional working in property investment, property funding, real estate and land management. Concepts are explained with great clarity and the authors use worked examples to elucidate key principles where possible, enabling readers to develop their knowledge of the sector and to strengthen their understanding of the challenges that lie ahead for property investors.
This third edition
- provides more material on sustainability in relation to property value
- uses a wealth of worked examples to apply theory to real-world problems
- includes tips on how to structure appraisals in Excel® spreadsheets
- features self-assessment questions to test and reinforce your understanding
Detailed yet accessible, Property Valuation Techniques is ideal reading both for those students new to the subject and those looking to extend their knowledge, and for practitioners looking to refresh and develop their understanding of property valuation.
If the place occupied by the Market institution in apartheid society is emphasized throughout the present study, its contribution to the aesthetic of resistance is also underlined through detailed criticism of the plays and authors dominating the theatre. Pieter-Dirk Uys, Barney Simon's workshop plays and, among others, Black Consciousness plays are subjected to various methods of theatre performance analysis. The reckoning that had to come in the early 1990s revealed itself as globally positive; the reasons for this may be found in the updated concluding part of Playing the Market, which is composed of more general essays (including one on the vibrant Junction Avenue Theatre Company) on how the theatre scene in contemporary South Africa started to change. A postscript reveals more specific aspects of the Market situation in the late 1990s when its hegemony in the New South Africa was already being questioned.
- Colonial readings of Foucault
- Ideologies of domesticity
- Torture and testimony of slave women
- Women as missionary targets
- Gender and the public sphere
- Race, science and spectacle
- Male nursing on mines
- Infanticide, insanity and social control
- Fertility and the postcolonial state
- Literary reconstructions of the past
- Gender-blending and code-switching
- De/colonizing the queer
The collection includes diverse research on the body in Southern Africa for the first time. It brings new subtleties to the ongoing debates on culture, civility and sexuality, dealing centrally with constructions of race and whiteness in history and literature. It is an important resource for teachers and students of gender and colonial studies.
This study traces the development of literature under apartheid, then seeks to identify the ways in which writers and theatre practitioners are now facing the challenges of a new social order.
The main focus is on the work of black writers, prime among them Matsemela Manaka, Mtutuzeli Matshoba and Richard Rive, who, as politically committed members of the oppressed majority, bore witness to the "black experience" through their writing. Despite the draconian censorship system they were able to address the social problems caused by racial discrimination in all areas of life, particularly through forced removals, the migrant labour system, and the creation of the homelands. Their writing may be read both as a comprehensive record of everyday life under apartheid and as an alternative cultural history of South Africa.
Particular attention is paid to theatre as a barometer of social change in South Africa.
The concluding chapters consider how in the current period of transition writers and arts institutions have set about reassessing their priorities, redefining their function and seeking new aesthetic directions in taking up the challenge of imagining a new society.
Recent developments covered in this edition include:
EU competition law interaction with sport under arts. 101 and 102 of the Treaty on the Functioning of the European Union;
the current World Anti-Doping Agency code;
analysis of the recent Court of Arbitration for Sport Jurisprudence;
reforms of the transfer system in team sports;
anti-discrimination provisions in sport;
engagement with match fixing;
a focus on the legal context of 2012 London Olympics.
Essential reading for students studying sports law or sports-related courses, this textbook will also prove useful to sports law practitioners and sports administrators in need of a clear companion to the field.
It is with the literary expression of this persistent condition of alienation that the essays gathered in the present volume are concerned. Covering a heterogeneous selection of contemporary Australasian literature, what these critical studies convincingly demonstrate is that, more than two hundred years after the process of colonisation was set in motion, the experience that Germaine Greer has dubbed 'the pain of unbelonging' continues unabated, constituting a dominant thematic concern in the writing produced today by Australian and New Zealand authors.
In all former colonies, myths of national identity are vested with various interests. Shifts in collective Pakeha (or New Zealand-European) identity have been marked by the phenomenal popularity of three novels, each at a time of massive social change. Late-colonialism, anti-imperialism, and the collapse of the idea of a singular 'nation' can be traced through the reception of John Mulgan's Man Alone (1939), Keri Hulme's the bone people (1983), and Alan Duff's Once Were Warriors (1990). Yet close analysis of these three novels also reveals marginalization and silencing in claims to singular Pakeha identity and a linear development of settler acculturation. Such a dynamic resonates with that of other 'settler' cultures - the similarities and differences telling in comparison.
Specifically, Reading Pakeha? Fiction and Identity in Aotearoa New Zealand explores how concepts of race and ethnicity intersect with those of gender, sex, and sexuality. This book also asks whether 'Pakeha' is still a meaningful term.
Frameworks offers a unique perspective on Frame studies today, showcasing its major concerns as well as heralding new Frame narratives for the decade ahead. Mindful of preceding Frame criticism, these essays use their contemporary vantage-point to recast seminal questions about the relationship between Janet Frame's work and its critical contexts.
Each of the essays makes a case for framing her work in a particular way, but all are characterized by self-reflexivity regarding their own critical practice and the relationship they assume between exegetical framework and Frame's work. Underlying this practice, and contained within the pun of the title, are the elementary-sounding yet fundamental questions of Frame studies: How does Frame's work work? And how do we work with her work?
But odún: where is it? and what is it? And the 'voice'? The many critical discourses have not really answered these questions. In effect, odún is many things. To enable the reader to see these, the study proceeds with an 'intermezzo' a frame of reference that sets odún, the festival, in its own historico-cultural ecoenvironment, identifying the strategies that inform the performance and constitute its aesthetic. It is a 'classical' yet, for odún, an innovative procedure. This interdisciplinary background equips the reader with the knowledge necessary to watch the performance, to witness its beauty, and to understand the 'half words' odún utters.
And now the performance can begin. The 'voice' emerges one last time, to introduce the second section, which presents two case studies. The reader is led, day by day, through the celebrations -odún edì, Morèmi's story, and its realization in performance; then confrontation by the masks of the ancestors duing odún egúngún (particularly as held in Ibadan). The meaning of odún becomes clearer and clearer.
Odún is poetry, dances, masks, food, prayer. It is play (eré) and belief (ìgbàgbó). It is interaction between the players (both performers and spectators). It is also politics and power. It contains secrets and sacrifices. It is a reality with its own dimension and, above all, as the quintessential site of knowledge, it possesses the power to transform. In short, it is a challenge - a challenge that the present book and its voices take up.
Island Paradise: The Myth investigates how these entrenched notions of paradise, which islands have traditionally represented metonymically, are contested in the works of four postcolonial authors: Jamaica Kincaid, Lawrence Scott, Romesh Gunesekera, and Jean Arasanayagam, from the island nations of the Caribbean and Sri Lanka. It analyzes texts which focus on gardens, island space, and houses to examine how these motifs are used to re-vision colonial/contested sites. This book examines the relationship between landscape and identity and, with reference to Homi K. Bhabha, considers how these writers offer an alternative space for negotiating the ambivalence of hybridity.
It is shown that the form of ethical action staged in Coetzee's writing is grounded not in the individual's willed and rational achievement, but in his or her invasion and possession by the strangeness of the stranger. This ethic of hospitality, Marais argues, has a strong aesthetic dimension: for Coetzee, the writer is inspired to write by being acted upon by a force from beyond the phenomenal world. The writer is a secretary of the invisible. She or he is responsible to and for the invisible.
Marais maintains that this understanding of writing as an involuntary response to that which exceeds history is evident from the first in Coetzee's fiction. In readings of the novels of the apartheid era, he traces this writer's rueful, ironic awareness of the limited, even incidental, form of political engagement that may emanate from such an aesthetic. He then goes on to argue that if it is the writer's obligation to render visible the invisible, writing must be a task that can never be completed. What is more, such writing is thus bound to be iterative in form. With this in mind, he traces the structural similarities between Coetzee's writing of the apartheid period and his post-apartheid and Australian writing, arguing that the later texts are self-reflexively aware of their endlessly repetitive nature.
These contentions are developed incrementally through close readings of the individual novels that focus on recurring metaphors of hospitality - visitor, the stranger, the house, the castaway, the invisible, the dream, and the child.
Topics treated include: Caliban; English satirical iconotexts; Oriental travel writing and illustration; expatriate description and picturesque illustration of Edinburgh; ethnographic film; African studio photography; South African cartoons; imagery, ekphrasis, and race in South African art and fiction; face and visuality, representation and memory in Asian fiction; Bollywood; Asian historical film; Asian-British pop music; Australian landscape in painting and fiction; indigenous children's fiction from Aotearoa New Zealand, Canada, and the USA; Canadian photography; Native Americans in film.
Writers and artists discussed include: Philip Kwame Apagya; the Asian Dub Foundation; Breyten Breytenbach; Richard Burton; Peter Carey; Gurinder Chadha; Daniel Chodowiecki; J.M. Coetzee; Ashutosh Gowariker; Patricia Grace; W. Greatbatch; Hogarth; Francis K. Honny; Jim Jarmusch; Robyn Kahukiwa; Seydou Keita; Thomas King; Vladyana Krykorka; Alfred Kubin; Michael Arvaarluk Kusugak; Kathleen and Michael Lacapa; László Lakner; George Littlechild; Ken Lum; Franz Marc; Zakes Mda; Ketan Mehta; M.I.A. (Maya Arulpragasam); Timothy Mo; William Kent Monkman; Lady Mary Wortley Montagu; John Hamilton Mortimer; Sidney Nolan; Jean Rouch; Salman Rushdie; William Shakespeare; Robert Louis Stevenson; Richard Van C& Zapiro.
The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams's work û artistic, academic, and literary û and capture the rationale for, the interconnections between, and the evident trajectory of Williams's life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams's activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams's archaeological masterpiece, Prehistoric Guiana.
Charlotte Williams is Professor of Social Justice, Keele University. Her research incorporates postcolonial and critical race theory, feminism, and critical perspectives in social policy. Her publications include A Tolerant Nation? Exploring Ethnic Diversity in Wales (co-edited, 2003) and Sugar and Slate (2002).
Evelyn A. Williams, a former teacher of art and design, is a practising painter with a recently established studio in Guyana, where she applies the principles of Mbari. Current research interests include Denis Williams's artworks and the vernacular architecture of the Village Movement.
Powerfully contradicting the long-held perception of Raja Rao as a mere metaphysical writer and the true bard of quintessential Indianness, projected by many critics of the first Commonwealth generation over three decades, Stefano Mercanti posits Rao's fiction in terms of its dialogic interaction - the 'partnership' - between Western and Eastern cultural traditions and demonstrates how it evolves during the course of his oeuvre on both the philosophical and the political level.
The title, The Rose and the Lotus, signals the discursive terrain for a multicultural and interwoven evolution among different cultures, and points to the need for valuing relations of reciprocity rather than those of domination. Far from conveying univocal configurations and nationalistic stereotypes, Rao's idea of India is seen as the epicentre of many echoes and dynamic resonances, both Western and Eastern, through which a distinct blend of Indian and European influences is more clearly unravelled.
In this new critical re-appraisal, Mercanti draws on non-binary and inter/multi-disciplinary paradigms, thus signalling the complex transformations and multiple negotiations of a polyglot India caught between the cultural twilight of the modern and the traditional. The study also offers an invaluable linguistic analysis of Rao's experiment with the English language, supplemented by a detailed glossary.
The three opening essays explore the work of the Zimbabwean writer Yvonne Vera, whose groundbreaking work explored taboo subjects such as infanticide and incest. A wide range of other essays focus on writers from Africa, the Americas, Asia, Australia, and Europe. including Jean Rhys, Bharati Mukherjee, Arundhati Roy, Jean Arasanayagam, Victoria Nalani Kneubuhl, and Eva Sallis.
Rites of Passage in Postcolonial Women's Writing will be of interest to scholars working in the fields of postcolonial and modern and contemporary women's writing, and to students on literature and women's studies courses who want to study women's writing from a cross-cultural perspective and from different theoretical positions.
Pauline Dodgson-Katiyo is Head of Humanities at Sheffield Hallam University. Her research focus is on African literature (particularly Zimbabwean), contemporary women's writing, and postcolonial cinemas.
Gina Wisker is Professor of Higher Education and Contemporary Literature at the University of Brighton, where she teaches literature, is the head of the centre for learning and teaching, and pursues her research interests in postcolonial women's writing.